Interesting avant-garde Rock/Metal
Murat Batmaz | Istanbul, Turkey | 01/02/2005
(4 out of 5 stars)
"I had no idea if Feathers for Flesh was The Red Masque's first album or not since I came across this interesting album completely by chance. This is a 2004 release and was released through indie lable Big Balloon Music who are famous for carrying great progressive bands on their vendor. Only after visiting the band's website did I find out that this is actually their third album amidst a bunch of promo CDs and singles. The album consists of five songs, but each piece except the last one clocks in over at the 10-minute mark offering a variety of textures and avant-garde rock influences in the vein of King Crimson's Red era. Not only King Crimson, but other comparisons that popped in my head while listening to this have been Opeth, Novembre, maudlin of the Well, Sonus Umbra, and even Blackmore's Night. As a matter of fact, no one else may hear these bands on Feathers of Flesh, since it's the 'vibe' rather than the 'music' that I feel when I listen to this album. Besides, The Red Masque has a female singer and she sings in her regular voice as opposed to doing death growls.
What I like best about this album is that there are subtle contributions from each member and this makes it a real band effort. Vocalist Lynnette Shelley wrote all the lyrics, plays tons of instruments, and adds various weird textures. It's really hard to explain; you have to hear it to believe it. Another interesting detail is that more than one member plays the same instrument here. For example, all three guys except the singer play keys/organ. Guitarist Kiarashi Emami also plays electric and acoustic guitar as well as the mandolin. Bassist Brandon Ross, too, does some guitar work. Then there is the amazing drummer Vonor who also picks up the bass in a few songs. The music presented on this 54-minute album borrows both Metal and Rock characteristics as well as non-Metal elements such as the violin, mandolin, organ, harp, and even didgeridoo. That is perhaps what makes me think of the maudlin of the Well comparisons: the excellent blend of varied instruments.
Throughout the whole disc, the mood is very sinister. There is a good deal of keyboard work juxtaposed with a thick organ sound almost making some of the tunes gothic-sounding (refer to the intro of the third track "Yellow Are His Opening Eyes"). The most impressive instrument in my opinion is the bass. It's very heavy and subtle and the main driving force of most of the tracks. The drumming of Vonor is nothing short of amazing as well. He thunders and beats the skins viciously, but he also knows when to hold back and experiment with the cymbals like Bill Bruford in the 70's. The rhythm section is very tight especially when combined with the atmospherics of mellotrons. Emami's guitar work may seem a tad watery to some (especially in the beginning of "Passage") but if you give his playing a close listen you will discover that his style his very eclectic and lends the album a lot of credibility. The instrumental improvisation on the 14-minute epic "Passage" is amazing. Everyone jams in free form with monster bass work and fierce drumming in the background. The other 14-minute number "Yellow Are His Opening Eyes" is comprised of three sub-titles, namely "I. The Summoning", "II. Outscream", and "III. Vacant". Its tired intro with indiscernible spoken parts builds up thanks to the cloudy organ sound and finally erupts into a chaotic soundwall with absurdly menacing bass and drumming once again. The fact that each part was written by different members gives the song an added homogenous texture. "Beggars & Thieves" is a relatively shorter track with a 9+ minute running time and it's mostly acoustic based. This is where the Opeth and Sonus Umbra comparisons shine through, though The Red Masque's approach is a lot more atonal than both bands. There is a certain Medieval influence in Shelley's singing. It's, however, no where near as accessible as the singing of Candice Night (Blackmore's Night). Tortured violins and a sad mandolin piece pick up towards the end respectively and they truly lift the lyrics. "Scarlet Experiment" is not only the shortest track, but, as its name suggests, the most experimental in style. It begins with Shelley whispering odd lyrics and is backed up by some chanting-like singing, though you can never be sure. This song is a synthesis of weird noises and atonal riffs that seem to be played out of tune on purpose. Feathers for Flesh is far from an easy-listen, but it sure is interesting. I can see some old King Crimson fans enjoying this one, if they can get past the band's avant-garde approach. The booklet reflects the darkness of their music perfectly, with lyrics, band photos, and song credits."
Track Listings (5) - Disc #1